When photographing portraits in a studio, you can create many different looks using only one light. Depending on how you place it and how big it is, a softbox can significantly change the look and mood of your photos. In this video, Jay P Morgan discusses different factors of softbox placement. And when you learn how they affect your portraits, you’ll know exactly how to achieve the look you want.
Having a photography studio is fun, but it is even more fun when you start applying simple and cheap solutions, plus common sense to make your shooting experience (and your clients’) smoother.
This is the list of what I think are the smartest and most useful photography studio life hacks.
It’s not often I get to shoot very simple, clean white light shots, but in a recent shoot the model asked if she could get some updated ‘Polaroids’. For those of you not familiar with the term when used in reference to a model shoot, it’s actually not the now obsolete and ludicrously expensive single-shot film, but a request for very basic portraits of the model for their agency. This ‘Polaroid’ term is a relic from the analogue film days and it essentially now means shots that are un-retouched and with the model wearing very little makeup.
The umbrella is one of the most underrated modifiers in photography, I think. It’s one of the first that many of us usually encounter once we start working with speedlights or strobes, and Bowens even used to include umbrellas in their strobe kits.
But we often feel that we “outgrow” them, in favour of softboxes and beauty dishes. This video from photographer Miguel Quiles, however, demonstrates that we shouldn’t be so quick to discount umbrellas. He shows us five ways to use umbrellas to get some pretty amazing results.
While I don’t think everybody will ever agree on a single modifier that works best for shooting portraits, we all have to start somewhere. Usually it’s with one light and one modifier. So, where does one begin in their search for the perfect portrait modifier?
Photographer Daniel Norton explores that topic in the above video, and explains why he thinks an octagon softbox (aka “octabox”) is the best and mose useful modifier for portraits.
With the prolific use of flash in photography these days, and the amount of information that is out there, you’d think it would be quite a simple task by now for somebody to figure out a path for their lighting needs. But because there’s so much information out there, newer users can actually find flash quite intimidating.
In this four-part video series, photographer Ed Verosky goes through a complete crash course on flash. He starts off with the basics of using your flash on the camera, through getting it off the camera in a studio environment, to taking it out into the wild and mixing it with existing lighting.
Christmas has gone. We’re almost to the new year. In a few hours, we’ll be there. But it’s never too late for a festive wintery themed photo shoot. Winter’s still going to be here for a while yet. In this video, photographer and educator Gavin Hoey walks us through his process to create this festive fine art composite portrait in the studio.
If you’re like me and you’ve tried to attach gels to your lights in the past, you’ve likely resorted to using one of the many types of sticky tapes available. When I used to manage a studio, I would see all manner of tapes being used to attach gels to hot modifiers. From masking tape, duct tape, parcel tape and when they ran out, even regular old sticky tape was used. But ultimately, all of these tapes fell short in achieving their simple task of holding a coloured gel in front of a light.
Studio photographers. They’re an odd bunch. And they don’t get much odder than multi award-winning photographer, Simon Ellingworth. Of course, I’m kidding, he’s a lovely guy. But he’s often asked why he has bricks in his studio covered in black gaffer tape. In this short video, he explains why.